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Berlins herausragende Technoterrestrial Ellen Allien bringt uns die letzte Ausgabe der Mammut-Compilation-Serie We Are Not Alone, insgesamt drei Teile mit jeweils 11 Tracks. Jede der Compilations enthält brandneue Sounds von Künstler*innen, die entweder bereits auf der legendären Veranstaltungsreihe gespielt haben oder zukünftig auf We Are Not Alone-Partys auftreten werden. Hier kommt das Abschlusskapitel, schnallen wir uns an für ein freakiges Finale...

Ryan James Ford - EQ 10MG Base - Kybernetische Assimilatoren dringen in die Exosphäre der Erde ein.
LADA (Dasha Rush & Lars Hemmerling) - Kassi - Dichter kosmischer Minimalismus
Cosmin TRG - Sourde - Unorthodoxe Renegaten-Snares
Heidi Sabertooth - Innergaze - Introspektive Präzision eines Lasers
Henning Baer - Nightwing Microlight - Donnernde kataklysmische Vibrationen
Setaoc Mass - Silent Tension – Urzeitliche, rituelle Praktiken
Truncate - Basic – Straff, Athmosphärisch und druckvoll
Shlomi Aber - Terrified - Schauriger Technoterror!
Hemka - Culture - Der Traum von einer wilden Fahrt durch die Nacht
Bertrand. - Midsummer Dream – Raue Beats und fluffige Pads
Adriana Lopez - Chaos Transition – Fehlfunktion, Schmelze, Supergau

While there is a wealth of young, fresh talent on the house music scene right now, few have cultivated such a polished sound as Mark Laird. Hailing from Ireland but already enjoying success on the international scene, Laird joins Shall Not Fade's Killer Cuts series for the diverse and invigorating Random EP.

First on the 5-tracker is "Bet", and it's an immediate onslaught of breaks and heavy kicks, a chunky melody that follows choppy vocals to create a cheeky bit of dancefloor action. "I Just Wanna" takes on a noughties fidget house style, cascading vocal samples that are somehow hypnotic.

On the B-side, Laird shows the breadth of his production abilities, moving away from the hard-hitting club beats for a moment on "4 Cruisin'" and instead crafting a pulsing, spaced out house track that feels like sunshine dazzling on some far-off beach. This blissful energy grows in the next track, "Woosh" - a euphoric warehouse rave-tinged number that showcases the best of classic piano house. Closing off the EP is the edgy, energetic "Ghetto Booty", with flavours of early American house sounds and a groove that is impossible not to move to.

This 2LP set encompasses some of Ray Charles' most popular, influential and seminal recordings. Listen to these recordings by one of music's true greats, from his formative, pre-Atlantic days to his later genre-defying work, and discover why he was known simply as 'the Genius'.

A rare example of a 'jazz opera' The Real Ambassadors was an innovative concept when first released in 1962. Heading
an all-star cast, Louis Armstrong was at the peak of his popularity and still playing magnificent trumpet, while Dave
Brubeck was hailed as one of the most creative and successful musicians of the age. Enjoy this incredible LP, including
"Cultural Exchange", "Summer Song" and "Since Love Had Its Way"

Singer, guitarist, flautist (and practitioner of the double tin whistle), John is
also a member of celebrated traditional group Skipper’s Alley and is joined
here by bandmate Ultan O’Brien (also of Slow Moving Clouds).
Also contributing to the record are singer Consuelo Breschi of the duo Varo,
sean n s singer Saileog N Ceannabh in, Phil Christie (O Emperor / The Bonk) on
keyboards, and drummer & composer Ross Chaney who created many of the
Tascam tape-loop drones that bind the album together.
The record was produced, engineered and mixed by Brendan Jenkinson (Villagers / Cloud Castle Lake) who also joins in on a host of instruments for the record. It was recorded and mixed at Oxford Lane and Sonic Studios, Dublin. The
material John Francis Flynn has chosen to record includes songs learned from
recordings of Shirley Collins, Frank Harte and settled Traveller Paddy Quilligan,
two songs written by activist and folk revivalist Ewan MacColl, and a West Indies halyard shanty published by “Last Working Shantyman” Stan Hugill, alongside in-studio improvisations and tunes picked up by John along the way

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

A beautiful, deep and personal techno document by Mr. G who is talking the international language of musical expression (spoken and understood by everyone). Expressing his feelings and emotions via his sonic frequency philosophy on probably his most versatile release to date, a 12 track album on Childhood records This is the first time we hear Mr. G diving deep into the soundscapes and deeper dancefloor cuts on this album recorded during the global pandemic.

It's marking a change in his musical vocabulary without losing his rough and raw energetic expressions. It's telling a story of forgotten places and dreams of the future. Dreams that pay tribute to the past, critical of the present, and still give hope for what's to come. Always rough and raw, the outstanding sonic frequency design on THE FORCED FORCE IS NOT THE TRUE FORCE will let you dive deeply into a more articulate and sophisticated musical language of Mr. G, while the man still keeps what we all love him for: his genuine distinct rhythms and seductive grooves that he has been sharing with the world for so many years!. --- The album is pressed DJ friendly on 3 x 180g 12'' vinyl and includes a download code. ---

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Not Waving renders his pop soul on a definitive album opus ‘How To Leave Your Body’, starcrossed with guest appearances by Jim O’Rourke, Jonnine Standish, Marie Davidson, Spivak and Mark
Lanegan
An escapist parable for the times, Alessio Natalizia marks a career high with his most sensitive production and songwriting illuminated by a coterie of notable collaborators. Its 11 songs deal with the necessity of friendship, the fragility of loss and spiritual transcendence via a spectrum of strategies that ultimately arrive at a mutual conclusion: love is the message. It packs sample amounts of nostalgia into a fantasy sequence of elegiac pop, skewed rave and midnight lullabies that fine-tune over 20 years of devotion to his craft, perfectly matching experimental restlessness with enduring pop appeal.
Perhaps unavoidably, circumstances had a hand in the creation of ‘How To Leave Your Body’, forcing Natalizia to work with collaborators remotely. Yet the strength of his bonds bleeds through in the album’s handful of poignant vocal pieces, none more so than the hushed intimacy of Marie Davidson on the bewitching downbeat trance hymn ‘Hold On’, but also in the bruised blush of ‘My Sway’ featuring Jonnine’s spine-tracing lilt over hovering organ and dembow bumps, while the hook-up with Mark Lanegan once again yields bittersweet fruit on ‘Last Time Leaving Home Part 2’, with gravelly blues vox diffused into detuned, miasmic cello that really tugs.
Effortless and made for rinsing, the whole album is testament to the humility and pathos of Natalizia’s oeuvre, which has gotten better with age. It plays out like a lovingly crafted mixtape, decanting all original material with a classic cadence and fleeting play of styles, from aerial jazz notes in ‘You Are Always Younger Than The Future’, to the gnawing club grind of ‘Define Normal’, a noisily gurning ‘Self-Portrait’, and the lushly resolved admittance of ‘My Best Is Good Enough.’
Comparisons don’t really work with this one, it’s just Not Waving.

Puerto Rican-born Jose Feliciano had already been a major star in
Latin America for several years with his Spanish-language
recordings when he spectacularly broke into the US mainstream in
1968 with an acoustic reworking of Light My Fire. A million seller
that reached No. 3 on the Billboard Hot 100 chart, the Doors cover
introduced Feliciano to an entire new audience in the States and
around the world. Also a UK Top 10 hit, it showcased not only his
virtuoso guitar playing and extraordinary voice but also his gift for
reimagining other artists’ songs. This compilation firmly puts the
spotlight on Feliciano the interpreter, although there is also room to
showcase his own great songwriting

Somewhere along the way, Nat Cole realised he had a
voice. Not an ordinary voice, but one that brought warmth
and intimacy to every song that came his way. He was
versatile too: a tender love song, an R&B classic, an age-old
jazz favourite or maybe something exotic from the South
Seas or Latin America. Whatever he sang, the result was
pure Nat Cole.

Legend’ is a label hurled around all too frequently these days,
but one singer to whom the term can legitimately be applied is
the late Sam Cooke, whose ability to incorporate gospel, folk,
R&B, show tunes, blues and pop into a magnificent and
seamless blend was truly unique.Today Sam Cooke is regarded
as one of the handful of artists who single-handedly created the
soul music genre, and this 3LP Platinum Collection is the proof.

clear blue vinyl

Stockholm native Viggo Dyst joins Shall Not Fade's roster for their new Classic Cuts series, serving up ear candy and sparkling sounds on Everything Else Is Secondary EP. Fresh from a successful release with Swedish label Vivrant, he is also joined by stalwarts of the scene Baltra and 1800-GIRLS for two gorgeous reworks.

The title track is a breathless, hopeful opener that overflows with feel good energy, sunshine melodies and personality. Baltra flips the lead melody into a hazey, UKG style club remix, maintaining the shimmering core - while 1800-GIRLS creates something tenser, a persistent beat and a warped breakdown.

On the B side, "Time After Time" carries strong Aphex Twin influence pairing sombre orchestral instrumentation with a hurtling yet delicate break throughout. "Weekend Special" is a classic Shall Not Fade sound; gentle, swelling house that needs to be danced to, closing out the record on a high.

A few months ago, Dj Schwa & Name Does Not Matter rumbled through the timbers with their latest EP on RFR Records. For all of you, who like to get physical, we are now offering two Tracks of the digital EP including two brand-new Remixes on Vinyl.

Follow the “Ape King” and jump into the frying acid pan! Straight forward stomping on the beat section, pretty classic when it comes to the bassline. And whilst the 303 is continuously marching towards our cortex, shit kicks in with a nonchalant melody part. Wait, are the old Djax Up days back?

London’s Posthuman is delivering the perfect Remix for “Ape King” qua musical self-definition. His analogue machine park powers the Original with an even deeper drilling bass line, reduces the melody to its essence and nonchalantly sets the groove between classic Chicago and UK Hardcore influences.

“Obsolete” is a true feast for lovers of classic Electro. And despite of the title, all its ingredients are perfectly well balanced. Sounds like Aril Brikha, Nitzer Ebb and Clarence G. (RIP) joined forces in the studio and filtered the essence of one of our favorite genres.

We stay in London. Jerome Hill lays hands on “Obsolete” and proves from the very first second that there is absolutely no space for compromise. This is all about straight Techno and the feeling of being exposed to a stroboscope in a dark basement while the first rays of sunlight are already penetrating through the crack of the door.

Salford-based choreographer, MC, poet and performer Blackhaine, and Hull-born contemporary artist Richie Culver join forces on DID U CUM YET / I'M NOT GONNA CUM, a two-track 20 minute audiovisual project released by UK record label and creative studio Participant. The release is an extension of Richie Culver's now infamous canvas work ‘DID U CUM YET?’, itself a wry reference to the inherently masturbatory act of posting art on social media.

Having destroyed the original painting and released a 300 page book featuring the vitriolic Instagram comments received in response to the original piece, DID U CUM YET / I'M NOT GONNA CUM is a sonic extension of the Instagram project gone rogue, the coming together of two artists that share working-class roots and a commitment to low culture, as well as a belief in thev transcendent potential in creative expression. Each artist has one leg planted firmly in Northern soil and both are united in their unflinching focus on England’s liminal spaces.

Accompanying the EP is a film, assembled by British/Belgian filmmaker William Markarian-Martin. Recently nominated for Best International Music Video at the 67th International Short Film Festival Oberhausen, the film weaves together footage gathered in the UK towns of Preston and Salford, shot in an underground carpark ‘to represent a kind of purgatory’, as if the artist has fallen through the pavement into a hellish place.

Splatter Vinyl

Shall Not Fade welcomes Rotterdam based producer Kessler to the family with six weighty jams for their "Basement Tracks" series. Rising Rotterdam based producer Kessler has been bubbling over the past 12 months with a string of high quality releases on labels such as Yellow Island Records and his own KESSLER TRAX imprint. His first full vinyl outing sees him serve up a bass driven masterpiece for Shall Not Fade's new "Basement Tracks" series. Ambivalent EP is nothing short of spectacular, weighty breaks meet dreamy synth patterns on this killer dance disc.

The final album in Pastor T.L. Barrett’s 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God’s love. Accompanied by his Youth For Christ Choir, the eight-song record is buoyed by the seven- minute opus “Father Stretch My Hands,” later sampled by Kanye West on 2016’s The Life of Pablo.

This album was recorded in 1977 and produced by Status Quo’s FRANCIS ROSSI. Shockingly, this album has never been released on vinyl until now. It originally came out on CD in 1992 and is now long out of print and even that goes for good coin.

Du Cann’s stellar career included freakbeat heroes THE ATTACK (“Magic In The Air”), psych/prog legends ANDROMEDA, and the group he’s best known for, ATOMIC ROOSTER. Du Cann wrote their their #4 hit single “Devil’s Answer”. A couple of years later he was in DAEMON, later renamed BULLET, then HARD STUFF. In 1974 he was even a temporary guitarist for a THIN LIZZY German tour.

In 1977, he was signed to the same management company as STATUS QUO, who paired him with Quo leader, Francis Rossi. The resulting album, “The World’s Not Big Enough” included Rossi on guitar, Andy Bown (The Herd, Judas Jump, Status Quo) on keyboards, Pete Kircher (Honeybus, Status Quo, Liverpool Express) on drums, and John McCoy (Ian Gillian, Tyla Gang, U.K. Subs) on bass. Basically, this is Du Cann backed by Status Quo at their Belt Buckle Boogie peak.

A few songs from this album appeared on killer late 70s Punxploitation singles “Throw Him Jail”, “Don’t Be A Dummy” (a UK Top 40 hit!), and “Where’s The Show”. This album has been described as “Quo mixed with the Sex Pistols”, and we can’t disagree with that assessment.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

Next up for Shall Not Fade's new Killer Cuts series is London-based DJ and label boss Tom Frankel. The up-and-coming producer has gained attention and respect for his slick techy house cuts that take from a range of classic house and UKG sound palettes. He makes his debut on Shall Not Fade with Milestones EP, six tracks of skippy house that reminisces early 90s raves.

The record meshes modern sounds with nostalgia; "Better Perspective" is a pulsing laid back house track but with a swerving bassline that gives it edge. Frankel experiments with the sounds of a warehouse rave in a nod to dancefloor romance, "Mandy Cuddles" - melding the classic M1 house piano with searing jungle vocals that cut through the melody like a laser.

Showing the cheekier side of his production, "Slippery Nipple" pays homage to filter house, a skippy garage bassline bringing it up to date. The funkiness of this one is unavoidable, making even the most static hips move; onto "Peak District", a throbbing 90s style roller to keep the pace going.

The two final tracks dabble in the darker end of Frankel's sound palette; "Tapas" adds heavy bass and percussive organ stabs to a clean house sound while "Cuckoo Land" is a deep, sweeping club track that formed a spaced out end to an otherwise high-intensity EP.

Scottish DJ Ewan McVicar is tipped for big things, having found support in the likes of Annie Mac and Fatboy Slim. After a stellar year crowned with a release on the hallowed Nervous Records, he makes his debut on Shall Not Fade's "Basement Tracks" series with five explosive earworms.

Amnocairn EP collects the most classic sounds from the dancefloor and melts them together, styles blending throughout songs to keep listeners on their toes and dancing. The title track is a sweeping marriage of insistent house piano and washy dub techno synths, leading into the sugary, hardcore "1001 Freestyle" that calls back to early Lone tracks. Then one for the after hours crew, "Ha Mez", a syncopated 303 techno roller.

McVicar keeps the party atmosphere close across the B-side, flexing laser-cut synth arps with a dark, big-room edge on "Stu Boy", before crowning the EP with a gorgeous sun soaked party number "See U Thru My Eyes", jazzy inflected house with a 90s aesthetic. This EP has something for everyone, bringing together eclectic influences into a smooth festival-ready record.

Before Bob Marley came on the scene, many in Britain
dismissed reggae as either the stuff of one-hit wonders or
skinhead dance music. Now it is recognised as a highly
influential style, which has not only sold millions of records
worldwide but had a major effect on the mainstream. We all
knew his music was timeless. Enjoy a trip back in time with
reggae’s greatest name.

Elusive UK producer Kilig brings a six-track EP spanning the British sound palette - forward, complex, with inflections of jungle and garage - to the new Shall Not Fade Classic Cuts imprint. Off the back of releases for Scuffed and Origins in 2020, kilig pairs their intimate knowledge of London's rave scene with more minimalist tinges for What My Mind Needs EP, a simmering club record soaked deep in ambience.

Taking sombre organic vocal samples and delicately placing them over a sharp two-step rhythm, opening track "Closer" is intangible, fantasy-like - the memory of music in your ears after you've left the club. There are echoes of Burial's seminal Untrue across the EP. Kilig aptly reflects the certain melancholy of British club music in the gritty "Overthinking" and mournful "Without You", an ensemble of distorted vocals and dramatic droning synth.

The rest of the record pushes into a more euphoric atmosphere - the title track is a soaring rave number while "Clocking In", a wild beast of a track, glitches and confuses. "I Wanted To Call & Tell You" swells in waves of breakbeat, bringing together the emotional core of the record, fading to gentle keys, the dream of raves to come in 2021.

Fado is the popular folk music of the cities of Portugal and is an
expression of "saudade". "Saudade" is a difficult word to translate for it means many things, sadness, longing for someone or something, the past or even the future; nostalgia, yearning, wistfulness all of which is expressed not only in words and music, but is the very vocal qualities of the singer. Amalia Rodrigues and fado have come to mean the same thing. Amalia is the goddess of fado, and although there are many fado singers in Lisbon, Amalia reigns supreme. Even without understanding Portuguese one can feel "saudade" when listening to her thrilling voice.

Chet Baker was the epitome of cool... the possessor of the kind of
looks that usually only featured in the most elegant of Hollywood
movies. He also played the trumpet in a way that transcended jazz
boundaries, and won him countless admirers among those who didn’t
normally stoke their hi-fis with bebop sounds. An opportunity to play
alongside the legendary Charlie Parker provided Chet’s start in the
jazz life - and that same year, 1952, he became a member of Gerry
Mulligan’s ground-breaking piano-less quartet - a combo that made
the sort of recordings that were essential to those of a hip genre.

Old school never die !! Tracker sound !!!
Purple Marbled Transparent vinyl - LTD 000

Old school never die !! Tracker sound !!!

Old school never die !! Tracker sound !!!

Dean Martin was a real showbiz animal. Adept as a singer,
comedian and actor, he was probably most at home in the night
spots of Las Vegas, along with his fellow 'Rat Pack' members. This
collection of his greatest recordings demonstrates just why Dean
Martin was (and is) so popular. Enjoy

Limited edition of 12′ vinyl release. Presents its sixth vinyl release with an interesting collaboration between a contemporary project such as Dot Product, the tandem formed by Adam Winchester and Christopher Jarman, and the Japanese legend of experimental rock and noise Kazuyuki Kishino. Known as KK Null, this artist had a first stage as a guitarist in several bands, it is worth remembering that at that time he collaborated with Merzbow in several albums and that years later he changed the guitar for electronic devices. 404 Not Found opens side A with a first cut by the English duo. Error Message combines grainy, strummed textures with a humanized sonic profile in which a beautiful melody makes its way in the face of bleak adversity. The second cut of this side is by KK Null, in this track the Japanese artist shows a high dose of metallic sounds that travel at the free will of the author to end up yielding in front of a complex and disorderly structured rhythm. Unlike side A, side B of this EP shows a work created jointly by Dot Product and KK Null. Pause Frames is an industrial cut, with hard percussion and numerous sound patterns such as pads, strong resonances and highly saturated components. 10-4-10-409-Conflict is the fourth and final track on the release, again employing a hard-hitting rhythm with a series of crunchy textures and a harmonic conjugation of dissonant chords. Picture: Stefan Alt / Salt (Ant-Zen) Mastered: Daniele Antezza / Dadub Written: Kazuyuki Kishino, Adam Winchester and Chris Jarman

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

This one is a double first for Shall Not Fade - the launch of the new Killer Cuts series focused on groove-heavy dancefloor fillers, and Marc Brauner’s debut on the Bristol label. The born-and-raised Berliner has previously released on German labels Midnight Snacks and Pentagonik, and joins the Shall Not Fade roster with a collection of classic house tracks to make you miss the clubs. Brauner covers a breadth of moods on the record, the A-side filling you up with euphoria; opener ‘Too Real’ is a gorgeous bit of lofi house tinged with funky guitar inflections and a retro feel that sweeps across the whole release. ‘Things I Did’ and ‘Tool For Lovers’ drag you out of winter and into a 90s Ibiza summer, utilising a 303 bassline and classic house stabs to warm up your dancing feet. In comparison to the warmth of the first half of the record, the B-side gets more haunting in tone, first by introducing rolling breaks in ‘I Know You Would’ and especially in ‘Tears of a Fallen Angel’. This is the emotional core of Brauner’s offering, euphoria tinged with sadness over a punchy rhythm that juxtaposes the subtle vocals woven throughout. The record closes with a hint of post-disco; ‘Neptun’ is a real groover of squelchy electro synths that is reminiscent of Patrick Cowley and the early, smoky nightclubs of New York. The bonus digital track ‘Out of Time’ carries on a similar energy - it’s a piece that doesn’t keep still, glittering with playful synth melodies and a surging cacophony of vocal samples.

Melbourne born-and-raised musician, Jordan Brando, lands on Shall Not Fade's Killer Cuts imprint for his debut on the label, seven tracks that show impressive variety in his
production and include two vocalist features. "Moment in Time" is a versatile release with fully-fledged radio playable songs and a host of dancefloor heaters.

After hitting big with "Rockin'" in 2019 and touring Australia supporting the likes of Fisher, Brando now demonstrates the depth and breadth of his musical style in this full-length EP, opening out with the title track - a unique song featuring fellow Melbourne local Vincent Sole. From the glitchy intro the song hits a house beat to get you tapping along but then contrasts this with Sole's silky smooth vocals and disco guitar trills. Following on from this are two more classic dance tracks - "Elsewhere" chops up rnb vocals across a swirling bassline - day party gear - while "Broken Dub" shows Brando's abilities to draw from a range of genres, a pacey breaksy number that tempts a reload.

The record's B-side also contrasts club tracks with vocal features; "Conflict" is the most headsy track on the record, a harder beat and snarling bass for sweaty clubs. Brando returns to his house roots with "Let Me Be The Reason", centering on an earworm diva vocal sample. Sandwiching the record with two vocal features, "You Might Be Surprised" ft. China takes her enticing wordless vocalisations and lays them over a driving electro bassline, an adventurous pairing that fits perfectly. Digital bonus track "Breaking You" is a pure adrenaline floorfiller of deep techy inflections.

Outer Space, the 6-piece band from Barcelona is back with two original tracks, totally fresh and raw from the depths of the galaxy.

Dead Planet is a slow burnin' theme featuring Catalan guest singer Gemma Humet. A stunning young voice with an already extensive career that will transport you to the streets of Addis Abeba. On the flipside, Not Even Light, another original song where you can taste the distinctive flavour of Mulatu Astatke with extra added soulful grooves. On both tracks special guest percussionist Jesús Campos joins them with his fiery hands.

Once again, Outer Space bring you their characteristic approach to Ethiojazz that will strip paint off the walls.

Acidcore matter !

"The Queen", they called her and Dinah Washington's regality
was nowhere more apparent than in the recording studio,
where she was uncompromising in her demands for the best in
material and in backing. She is marvelous in this recording,
which dates from 1957, for not only did she have some great
standards to sing in arrangements by Quincy Jones and Ernie
Wilkins, two of the best around at that time, but she also had
behind her a star-spangled band (the trumpet section alone is
sufficient indication of its quality) that gave her every
opportunity to be at her best.

Glenn Miller, leader of the best-loved dance band of all time
enlisted in 1942 in a personal crusade to entertain Allied
troops with his own distinctive brand of music. Whether
delivering ballads or setting the dancefloor moving with
‘Pennsylvania 6-5000’ and ‘The Woodpecker Song’, Miller
and his merry men set the mood of not only his fellow troops
but whole nations. He, and they, will never be forgotten.

A jazz musician playing spirituals? In a sense that is what Louis
Armstrong has been doing all along. Anyone who has ever read a
history of jazz knows that there’s supposed to be a relationship
between jazz and spirituals, jazz and work songs, jazz and the
blues. The patterns which the sax and reed sections use in swing
band arrangements are drawn from the “call” (the preacher) and
“response” (the congregation) patterns used in churches. This
album clearly shows Armstrong’s heritage and what an outstanding
and versatile musician he was.

"Sassy" Sarah Vaughan was a singer whose respect from fellow
artistes was as great as her popularity with fans. No less a
personage than Frank Sinatra once said, with tongue firmly in
famous cheek, that "Sassy is so good that when I listen to her I
want to cut my wrists with a dull razor." Vaughan certainly had
the smoothest voice of her generation. She could swoop from
the highest of notes down to the depths. The material
showcased here ranges from 1945 to 1959 and majors on
excerpts from the Great American Songbook like Nice Work If
You Can Get It, tackled here in 1950 with George Treadwell
and his All-Stars.

Ella Fitzgerald was, by any yardstick, a remarkable singer. She
had achieved much by the time she signed to the newly created
Verve Records in 1956, but it was the genius of Norman Granz,
her personal manager and Verve founder, in suggesting she
tackle the material of great contemporary composers in themed
albums that sent her career into orbit. As the New York Times
wrote on her passing in 1996, "These albums were among the
first pop records to devote such serious attention to individual
songwriters, and they were instrumental in establishing the pop
album as a vehicle for serious musical exploration." The song
selections ranged from standards to rarities, and the eight-title
series represented an attempt by Fitzgerald to cross over to a
non-jazz audience that may have been unaware of the talents
she first committed to vinyl in 1935.

Legendary Welsh anarchist punk band Icons of Filth was formed in Cardiff at the end of the 70s, having been known as Mock Death and Atomic Filth in earlier line-ups. This blistering debut, culled from demos laid in September 1982, was a cassette-only release—the first issue on the Mortorhate label, run by fellow political punks, Conflict. Over clamorous drumrolls, jagged guitar and super-charged bass, frontman Stiggy Smeg spits lyrics fighting against the system, championing animal welfare and a vegetarian lifestyle. This is the band at their rawest and most unfiltered—required listening for punk diehards. Limited vinyl reissue, comes with folded poster with exclusive unpublished photo by Robert Revill.

Listening to Magic Sam playing and singing from a twenty first
century perspective shows distinctly how he was pushing the
blues in a rockier direction and influencing many subsequent
players. During the sixties he attracted many new fans with two
fine albums on Delmark Records that have remained very
collectable. This fine album represents the first phase of his
career and captures his distinct guitar playing with its crisp and
sometimes choppy attack. He was very much a second-wave
bluesman on the Chicago scene, but obviously had so much to
offer in terms of taking the blues in new and exciting directions.

These two tracks have been around since their first releases on Kent LPs in the late 80s. Taken from the Scepter/Wand tapes, the artists had one release each on those labels. Maurice Williams’ ‘Look My Way’ was recorded at the same session as the two songs issued on his Zodiacs-billed Scepter 45, although it outperforms them both.

It was assumed that ‘Not Now But Later’ by Walter Johnson was also an unreleased number, but a few years later, a Wand DJ copy was discovered in the home of the producer Billy Jackson, when the singer’s true identity was found to be Walter Wilson. However, Billy stated that it was an alias for Tommy Keith, who wrote and recorded some excellent soul music. It is a beautiful self-penned ballad in the Ashford/Simpson mould.

“For six years now I’ve been arranging and booking Ella
Fitzgerald’s concert and club dates, and wherever she goes, her
reception bears out an opinion that I have long held: People who
love good popular music are the same all over the world. Take, for
example, this record – “Mack The Knife”. It was recorded during a
concert at the Deutschlandhallen in Berlin which holds almost
12,000 people, and you can hear the same enthusiastic reaction,
the same eager applause, that mark similar recordings Ella has
made before live audiences in America. That concert – and this
album – have come to be regarded as something special because
of Ella’s version of Mack The Knife. It was the first time she’d sung
the song, and not knowing the lyric too well, she substituted her
own – for what may well have been an improvement on the
original.” - Norman Granz

Like Chuck Berry and Little Richard, it was success in the
pop field and crossing over to the white teenage audience.
That helped establish Bo Diddley in the rock & roll charts,
but his blues roots are clearly evident on this collection. For
however successful he got on the pop charts, Bo always
stuck close to his blues heritage. Among the songs you can
listen to here are I'm a Man, Road Runner and You Can't
Judge A Book By Its Cover. His blues roots are clearly
evident on this collection.

We’ve recorded an intimate and homely acoustic version of Not So Manic Now to celebratethe 25th birthday of Disgraceful. It’s out now digitally, but we’re also releasing a souvenir7” to commemorate the occasion.The b-side is a cover of Free As A Bird.Why? When our debut album came out in 1995, werealised that it was coincidentally John Lennon’s birthday, and when Not So Manic Nowwas in the Top 20, Free As A Bird was too, which gave us the unexpected privilege ofbeing in the charts at the same time as the Beatles. Including it here seems to heightenthe nostalgia of the occasion, as it were.

We’ll get to the vocal content in a second, but first it’s time to acknowledge what a patchwork tapestry of genius ‘Peace is not the word to play’ is in terms of production. Large Professor being a prodigy on the SP-1200 is well established, but the way he flips parts of MFSB’s ‘TLC’ and Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ with a sprinkling of Lyn Collins here establishes his credentials in the top tier.

Lyrically, it’s a tour de force, with Main Source taking exception with the misuse of the word ‘peace’ by the hip-hop fraternity. With even the most homicidal of gangster rappers dropping it at the end of tracks at the time, time was overdue for some regulation.

The album version makes its point pithily in a single verse, while the remix, included on the flip of this first ever 7” release, expands on the topic with new verses and some new samples too. It’s a welcome reminder of the time when remixes were remixes – not just the identical track with the latest hot rappers joining in.
Most of all, Main Source once again walk the fine line between lyrical lecture and head-nodding banger – the rare example of a track with a point to make that can still fill a dancefloor and get necks snapping.

• Samples MFSB’s ‘TLC’; Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ and Lyn Collins

• First ever 7” release of the Remix

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

We’ll get to the vocal content in a second, but first it’s time to acknowledge what a patchwork tapestry of genius ‘Peace is not the word to play’ is in terms of production. Large Professor being a prodigy on the SP-1200 is well established, but the way he flips parts of MFSB’s ‘TLC’ and Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ with a sprinkling of Lyn Collins here establishes his credentials in the top tier.

Lyrically, it’s a tour de force, with Main Source taking exception with the misuse of the word ‘peace’ by the hip-hop fraternity. With even the most homicidal of gangster rappers dropping it at the end of tracks at the time, time was overdue for some regulation.

The album version makes its point pithily in a single verse, while the remix, included on the flip of this first ever 7” release, expands on the topic with new verses and some new samples too. It’s a welcome reminder of the time when remixes were remixes – not just the identical track with the latest hot rappers joining in.
Most of all, Main Source once again walk the fine line between lyrical lecture and head-nodding banger – the rare example of a track with a point to make that can still fill a dancefloor and get necks snapping.

• Samples MFSB’s ‘TLC’; Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ and Lyn Collins

• First ever 7” release of the Remix

NEP was a loose multimedia collective formed in 1982 Zagreb, ex-Yugoslavia. The founder Dejan Krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. Heavily influenced by Walter Benjamin and Andy Warhol in theory and Brian Eno and Kraftwerk in music, Krsic created NEP as an umbrella term (meaning Nova Evropa or New Europe) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work. Musically NEP focused on experiments in ambient and tape-music, self-released and hard to find compilation tapes like "The Cassette Played Poptones" (1988). Deeply immersed in pop-culture, politics and art theory Krsic's search for perfect pop music with cutting critical edge peaked in 1989, the year 'Decadance' track was conceived in studio. Fox & His Friends published the single in 2017 with Snuffo Remix on B-side. It received rave reviews in music press like MixMag and DJ Mag and it is still played on dance-floors around the world. But the story around the NEP is musically (as well as artistically) much wider: for the first time Fox & His Friends team compiles best cuts from unreleased and rare NEP tapes, covering the period from 1985 to 1989 on POP NOT POP abum. Dejan Krsic is now famous graphic designer and art historian in Croatia. Other collaborators include Laibach and Borghesia photographer Jane Stravs, artist and TV director Gordana Brzovic, Jovan Culibrk, now Bishop at The Serbian Orthodox Church and Anja Rupel, singer of cult Yugoslavian synth-pop group Videosex as well as the other members of Videosex, Iztok Turk and Janez Krizaj who produced some of the tracks. Other collaborators were talented producers Robert Logozar and Davor Daga Devcic, singers Linda Cooper, Natalija, Alexx Kovacs... The list of collaborations is long. Some of the memorable moments on POP NOT POP album are early demo version of Decadance 'How Do I Dance To This Music?' with blue movies samples and drum machine experiments like early Cabaret Voltaire, then Krsic's reinterpretation of legendary Kraftwerk's Trans Europe Express anthem as 'Transcendance', or 'Radical Chic', where Dejan himself and Anja Rupel from Videosex make lovely couple of dandy-esque fashionistas, singing chart-friendly radio synthpop tune that contrasts the A-side (The 'NOT POP' side) - full of experiments, dark wave and industrial nods to Test Department and Cabs. B-side is 'THE POP' side that will surprise most of the NEP followers from their early experimental cassette days. Sunny, danceable, joyfull pop that reveals the many faces of NEP. As Kraftwerk today is more of a concept than a band, NEP does the same by re-writing its products (musical, graphical, theoretical, activist) and constantly puts them in permanent state of change or re-mix. In the future, only NEP logo will be enough to consider something an art piece, and NEP will be everybody who wants to, as their Art Manifest claims. Until that day comes, 'POP NOT POP' is a document of how the vivid and creative were art-scenes in socialist Yugoslavia. Some of the graphic work, cut-ups from theory and Manifesto are also included on this LP, designed by Dejan Krsic aka NEP himself. This release is made from the original master tapes and published for the first time on vinyl.

Otik ​joins the ​Shall Not Fade ​family serving up five killer jams for their new ‘Basement Tracks’ series.

London based DJ // Producer ​Otik ​has been putting out some eclectic records over the past few years, including stand out twelves on ​Keysound, Nous & DEXT, amongst others. His latest outing sees him share some of his finest work to date, dark, moody synths dance gracefully with heavy drum sequences and weight basslines on ‘Zero-Sum Game’ EP.

This 3LP compilation documents B.B.King's breakthrough years, when, initially signed to the Bihari Brothers' RPM label, he unleashed a torrent of superb recordings that would establish him as the world's most famous blues singer-guitarist. He made scores of remarkable recordings during his career - but the ones on this compilation represent that marvelous moment in time when Riley King and Lucille combined to make their indelible mark on the history of the blues.